Karen Kar Yen Law (she/her) is a first generation Cantonese Chinese-Canadian who lives and practices in Tkaronto (Toronto), Ontario. Law is a recent graduate from Queen’s University with a BFA (Honours) and BEd. Her dual background in visual art and education have informed an artistic practice which is centered around reflection, discovery, and dialogue. Law utilizes printmaking and painting in her practice to create two-dimensional abstract works. Her work has been exhibited throughout Katarokwi (Kingston), Ontario including the Union Gallery, the Isabel Bader Centre for Performing Arts, and the 12 Cat Arts Collective.

Karen Kar Yen Law (she/her) is a first generation Cantonese Chinese-Canadian who lives and practices in Tkaronto (Toronto), Ontario. Law is a recent graduate from Queen’s University with a BFA (Honours) and BEd. Her dual background in visual art and education have informed an artistic practice which is centered around reflection, discovery, and dialogue. Law utilizes printmaking and painting in her practice to create two-dimensional abstract works. Her work has been exhibited throughout Katarokwi (Kingston), Ontario including the Union Gallery, the Isabel Bader Centre for Performing Arts, and the 12 Cat Arts Collective.

My practice oscillates between the processes of a painter and a printmaker. I use the technical knowledge of each practice to further experiment and emphasize a personal process that hybridizes printing and painting. Through the language of multiples, reproduction, gradients, masking, and mark-making, I craft a space for reflection and discovery. I use my practice to understand personal experiences of microaggressions as a racialized woman. As a first-generation, Cantonese speaking Canadian, I turn towards my printmaking and painting as a process for unpacking my own experiences and understanding the ways in which polite racism manifest in Canadian culture. The product of my artistic practice is an artwork, delightful in colour and packaged to be palatable, to invite any viewer into a discourse about racism and discrimination.

My practice oscillates between the processes of a painter and a printmaker. I use the technical knowledge of each practice to further experiment and emphasize a personal process that hybridizes printing and painting. Through the language of multiples, reproduction, gradients, masking, and mark-making, I craft a space for reflection and discovery. I use my practice to understand personal experiences of microaggressions as a racialized woman. As a first-generation, Cantonese speaking Canadian, I turn towards my printmaking and painting as a process for unpacking my own experiences and understanding the ways in which polite racism manifest in Canadian culture. The product of my artistic practice is an artwork, delightful in colour and packaged to be palatable, to invite any viewer into a discourse about racism and discrimination.